DOCSLIB.ORG

Photorealist Painting Techniques

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Photorealist Painting Techniques Photorealist Painting Techniques Tutorial by Bert Ernie Photorealist Painting Techniques Published by Bert Ernie This version - 29 May 2016 This book is self published by Bert Ernie and is free and subject to no restrictions imposed by the author. You can copy and distribute this as you see fit. This book was created using InDesign CS5. Eventyually I will get around to reeasing a complete book. The font used primarily is ITC Quorum Std. The authors artwork can be seen at https://berternie.com/ Table of Contents | iii Table of Contents Introduction 1 Who it is for 1 Why paint a photograph? 1 Materials and equipment 3 Essentials 3 Additional equipment 6 Selecting an image 7 Two important questions 7 Computer work 10 Cleaning up the image 10 Making a drawing layer 10 Drawing 12 Measuring and cutting 12 Drawing a grid 12 First steps 12 Big to little 12 Sometimes it’s best to paint it in 13 Minor lines 14 My approach to color 16 Hue, Saturation, Brightness 16 Palettes 16 Painting 18 Getting ready 18 Mixing the first few palettes 18 What color, in what shape, and where 19 | 1 Introduction Who it is for Why paint a photograph? This book is written primarily for other artists who are The simple answer is because a camera freezes the subject looking to learn about the techniques needed to paint in time and place. Which makes for an easier job in some from photographs. It is suitable for beginners through to respects for the artist. No longer does the artist have to professionals and also a great source of information for worry about the change in position between them and the casual observer who just simply wants to know more their subject. It is always fixed absolutely in the same about the techniques of photorealism. place. You can return at any time, and you no longer have to try and place the subject in the exact place as it was in Art critics should also take a good look at this book in the previous painting or drawing session. order to understand that photorealist painting is not simply a ‘mechanical process’. Painting photorealism is a process, The model doesn’t change either, if you are working from but far from an autonomous, characterless expression of a live model in the traditional method then the model has the artist. to try and remain as static as they can, which is difficult. My experience There are benefits for still life painters - the flowers or fruit will remain as fresh as the moment the image is captured. I have painted more than thirty photorealist paintings in a period of more than ten years. Along the way I have learnt by trial and error and I would like to share this information in order to advance the knowledge on the subject. When I started to paint photorealism there was very little written about photorealist painting techniques. It was easy to get the basic ideas behind the methodology used by some of the photorealist painters of the seventies but there wasn’t enough to go and reproduce photograph’s without a lot of in-process learning along the way. And that’s why this book has come about. However my way is not the only method used by pho- torealist painters, and there are nearly as many different approaches as there are photorealist’s. It must be remem- bered that what I teach in this tutorial is neither the right way or wrong way. It is however a successful method in transforming a photograph into an accurate photorealist painting. Every new painting I complete contributes some new knowledge to this expanding base and I understand that nothing I take to be the ‘right way’ to be a permanent C is for Champion. belief. There is no hard and fast ‘rule book’ when it comes Detail view in a semi finished state showing Tony Rolt. to art. 2 | Another advantage, a very important one, is the light is ♦ A splash of water always the same when using a photograph. Claude Monet ♦ Aerial shots of a landscape from an aircraft. was fascinated by the changing conditions of light and how it affected the coloring of the surrounding objects he They are just a few examples of the top of my head and was trying to paint. He returned to do numerous paint- are an example of the subjects that have been created by ings of the same subject at different times of the day and modern photorealist painters. season. A great way to paint a glorious sunset - photo- Painting a photograph does have a few disadvantages graph it, seizing it’s very temporary beauty for a studied however. It can usually be expected to take longer. Even transcription to the canvas. using it in basic way will take more time compared to You can also paint a far more diverse range of subjects more traditional methods. If you were to take it the levels with a good deal of accuracy. Lets say you were a motor of ultra-high photorealism then it will take a lot more racing enthusiast and wanted to show the drama of the work. Painting a photograph which has chaotic, random action that is typical in the sport. The best way to do this elements or surfaces like hair or foliage is extremely dif- is to use a photograph. You can get a very good likeness ficult. This is what makes for a good photorealist painter. of the cars with their colored livery and stickers. You can Many a realist painting is ruined by poor observation of even then take it through a stylish impressionistic effect if the subject in regard to this passages which are made of you like! extremely complicated, abstract elements of color. But the most important thing to remember is that it is simply another tool in the artist’s arsenal. It isn’t cheating and can make for a greatly improved image You can also paint subjects that would be impossible (or the results would look terrible). Here’s a few examples ♦ Underwater shots of tropical fish ♦ Famous people that you’d never meet in real life ♦ The peleton racing in the Tour de France ♦ Horse racing | 3 Materials and equipment There are some things you will need in order to paint photorealism the way I do. I advocate sticking as close as possible to my methods, tools and materials because these have been refined over many years of experience and numerous mistakes. I believe that most of learning comes about through making mistakes and I hope that if you stick close to the advice I give then you won’t end up repeating them. I’ve divided up the chapter into essential and nonessential because there is some equipment that is certainly great as- sets to have in your toolbox but are more of a luxury item. Essentials hardware store. When buying it be careful to check the MDF Board boards because sometimes they can have damaged edges or surfaces that have been scratched, banged into or MDF board is the perfect support for painting photorealist walked on. I generally use 3 mm thick for small sizes (up paintings. Why? Because it is smooth, strong, inexpensive, to 60 cm), 6 mm for medium sized (up to 90 cm) and 12 takes well to being drawn on with pencil and when you mm for anything larger. need to use an eraser it allows the drawing to be cor- rected with minimal problems. It also is apparently long Pencils and related items lasting and if prepared well stable; which when you have A good mechanical pencil (I use a Rotring) is absolutely poured your heart and soul into a painting, not to mention essential because they make the drawing of fine objects so hundreds of hours, is very important. It comes in a great much easier due to their even and consistent line width. variety of sizes and is available from just about every good A normal HB pencil can yield, if sharpened to a very fine point, a hairs width line and when dull, a thick line. Hav- ing to maintain an even line width is impossible so I use a 0.5 mm mechanical pencil 95% of the time. The rest of the time I use good quality Staedler HB pencils and a high quality eraser and pencil sharpener. These are best obtained from an artist supplies shop or equivalent mail order company. I also find a common cereal bowl or dish comes in handy to put pencil sharpening’s in. Rulers You will have to draw a grid, so I would recommend at least a one metre stainless steel ruler will be required, it will have to have at least one edge divided into a usable 4 | set of units. I live in a country that uses the metric system smooth matt finish and performs very much like any other so I use a base system of either 10, 15, 20, or 25 mil- acrylic - just better! limetre squares when constructing my grid. I use three In the past I have primarily used the Luiqitex brand and sizes because some situations don’t require the use of a a little bit of Windsor & Newton. I can certainly recom- large, unwieldy ruler, they are 300 mm, 600 mm and mend these two brand’s if you can’t get the Chromacolour 1000 mm. acrylic paint. Acrylic paint Ice cube trays Buy the best paint you can afford, and if you are new to Ice cube trays make the best acrylic paint palettes, they painting keep it very simple with color selection.
Load more

Recommended publications
  • Flexible Film: Interactive Cubist-Style Rendering
    Flexible Film: Interactive Cubist-style Rendering M. Spindler† and N. Röber and A. Malyszczyk and T. Strothotte Department of Simulation and Graphics School of Computing Science Otto-von-Guericke University Magdeburg, Germany Abstract This work describes a new approach of rendering multiple perspective images inspired by cubist art. Our imple- mentation uses a novel technique which not only allows an easy integration in existing frameworks, but also to generate these images at interactive rates. We further describe a cubist-style camera model that is capable of em- bedding additional information, which is derived from the scene. Distant objects can be put in relation to express their interconnections and possible dependencies. This requires an intelligent camera model, which is one of our main motivations. Possible applications are manifold and range from scientific visualization to storytelling and computer games. Our implementation utilizes cubemaps and a NURBS based camera surface to compute the final image. All pro- cessing is accomplished in realtime on the GPU using fragment shaders. We demonstrate the possibilities of this new approach using artificial renditions as well as real photographs. The work presented is work in progress and currently under development. To illustrate the usability of the method we suggest several application domains, including filming, for which this technique offers new ways of expression and camera work. 1. Introduction The familiar representation of objects in our environment is that they usually face us with one side only, except they are viewed from odd angles or mirrored in reflective surfaces. An often expressed desire of artists and scientist throughout the centuries was the combination of different viewpoints of objects and scenes into a single image.
    [Show full text]
  • Explorations of the Painted Real
    EXPLORATIONS OF THE PAINTED REAL: TECHNOLOGICAL MEDIATION IN THE WORK OF FOUR ARTISTS. By Gina Margareta Heyer Thesis presented inpartial fulfilment of the requirements for the degree of Masters of Arts in Visual Arts at the University of Stellenbosch Supervisor: Dr. Stella Viljoen (thesis) Co-supervisor: Mr. Vivian H. van der Merwe (practical) March 2011 Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. 2 March 2011 Copyright © 2011 Stellenbosch University All rights reserved i Abstract This thesis is an investigation into the relationship between photorealistic painting and specific devices used to aid the artist in mediating the real. The term 'reality' is negotiated and a hybrid theoretical approach to photorealism, including mimesis and semiotics, is suggested. Through careful analysis of Vermeer's suspected use of the camera obscura, I argue that camera vision already started in the 17th century, thus signalling the dramatic shift from the classical Cartesian perspective scopic regime to the model of vision offered by the camera long before the advent of photography. I suggest that contemporary photorealist painters do not just merely and objectively copy, but use photographic source material with a sophisticated awareness in response to a rapidly changing world. Through an examination of the way in which the camera obscura and photographic camera are used in the works of four artists, I suggest that a symbiotic relationship of subtle tensions between painting and photographic technology emerges.
    [Show full text]
  • Gce History of Art Major Modern Art Movements
    FACTFILE: GCE HISTORY OF ART MAJOR MODERN ART MOVEMENTS Major Modern Art Movements Key words Overview New types of art; collage, assemblage, kinetic, The range of Major Modern Art Movements is photography, land art, earthworks, performance art. extensive. There are over 100 known art movements and information on a selected range of the better Use of new materials; found objects, ephemeral known art movements in modern times is provided materials, junk, readymades and everyday items. below. The influence of one art movement upon Expressive use of colour particularly in; another can be seen in the definitions as twentieth Impressionism, Post Impressionism, Fauvism, century art which became known as a time of ‘isms’. Cubism, Expressionism, and colour field painting. New Techniques; Pointilism, automatic drawing, frottage, action painting, Pop Art, Neo-Impressionism, Synthesism, Kinetic Art, Neo-Dada and Op Art. 1 FACTFILE: GCE HISTORY OF ART / MAJOR MODERN ART MOVEMENTS The Making of Modern Art The Nine most influential Art Movements to impact Cubism (fl. 1908–14) on Modern Art; Primarily practised in painting and originating (1) Impressionism; in Paris c.1907, Cubism saw artists employing (2) Fauvism; an analytic vision based on fragmentation and multiple viewpoints. It was like a deconstructing of (3) Cubism; the subject and came as a rejection of Renaissance- (4) Futurism; inspired linear perspective and rounded volumes. The two main artists practising Cubism were Pablo (5) Expressionism; Picasso and Georges Braque, in two variants (6) Dada; ‘Analytical Cubism’ and ‘Synthetic Cubism’. This movement was to influence abstract art for the (7) Surrealism; next 50 years with the emergence of the flat (8) Abstract Expressionism; picture plane and an alternative to conventional perspective.
    [Show full text]
  • Goings Ralph
    LOUIS K. MEISEL GALLERY RALPH GOINGS Biography Updated: 2/14/20 BORN 1928 Corning, CA EDUCATION 1965 Sacramento State College, Sacramento, CA; M.F.A. 1953 California College of Arts and Crafts, Oakland, CA; B.F.A. SOLO EXHIBITIONS 2005 Great Goings: Vintage Pick-up Trucks and Diner Paintings, Louis K. Meisel Gallery, New York, NY 2004 Ralph Goings: Four Decades of Realism, The Butler Institute of American Art, Youngstown, OH 2003 Ralph Goings: Paintings & Watercolors, Vintage & Current Works, Bernarducci Meisel Gallery, New York, NY 1997 Ralph Goings: Photorealism, Solomon Dubnick Gallery, Sacramento, CA 1996 O.K. Harris Works of Art, New York, NY 1994 Ralph Goings, A Retrospective View of Watercolors: 1972-1994, Jason McCoy Inc., New York, NY 1991 O.K. Harris Works of Art, New York, NY 1988 O.K. Harris Works of Art, New York, NY 1985 O.K. Harris Works of Art, New York, NY 1983 O.K. Harris Works of Art, New York, NY 1980 O.K. Harris Works of Art, New York, NY 1977 O.K. Harris Works of Art, New York, NY 1973 O.K. Harris Works of Art, New York, NY 141 Prince Street, New York, NY 10012 | T: 212 677 1340 | F: 212 533 7340 | E: [email protected] LOUIS K. MEISEL GALLERY 1970 O.K. Harris Works of Art, New York, NY 1968 Artists CooperatiVe Gallery, Sacramento, CA 1962 Artists CooperatiVe Gallery, Sacramento, CA 1960 Artists CooperatiVe Gallery, Sacramento, CA GROUP EXHIBITIONS 2019 Reality Check: Photorealist Watercolors, Herbert F. Johnson Museum, Cornell UniVersity, Ithaca, NY, April 27 – July 28 50 Years of Realism, Centro Cultural Center Bank of Brazil, Rio de Janeiro, May 22 – July 29 2017-18 From Lens to Eye to Hand: Photorealism 1969 to Today, traVeling exhibition: Parrish Art Museum, Water Mill, NY August 6, 2017 – Jan.
    [Show full text]
  • Modern Painting Cui Ning Ri-Iodes University
    FORMS AND TECHNIQUEs O}~ MODERN PAINTING CUI NING MASTER OF FINE ART AT RI-IODES UNIVERSITY NOVEMBER 1998 ACKNOWLEDGEMENTS I would like to express my gratitude to my supervisor, Professor Mark Haywood, for the encouragement and guidance he provided me. I would also like to thank The Department of Fine Arts, Rhodes University, its lecturers and students for their help and encouragement during my practical work and the writing of my thesis. Thank you to Miss Allen for helping me to translate this thesis. I am grateful to my family for their generosity and financial support. CONTENTS PREFACE ACKNOWLEDGEMENT CHAPTER 1 The History of Techniques and Innovations in Painting 1. Byzantine Painting * Foils and Metal 2. The Invention of Oil Paint * Oil Paint and Painting supports * Canvas * Panels * Fresco 3. Colour * The impact of synthetic pigments * Pointillism 4. Watercolour * Plein air painting * Oriental art 5. Oriental influence * Oriental prints * The Realists CHAPTER 2 The Innovations and Techniques Developed in Modern Painting 1. Innovative Approaches 2. Cubist Collage * Surrealist Frottage and Grattage 3. Abstract Expressionism * Abstract Art of Wassily Kadinsky * Andre Masson and Oriental Influence 4. Hard Edge Abstraction and Pop Art CHAPTER 3 The Techniques and Innovations Developed in Post Modern Art 1. Post-Modernism 2. Use of Colour (Pigment) 3. Rise of Altenmtive Materials and Space 4. Traditional Painting 5. Materials used for specific Reasons (Symboiic,Metaphysical and Alchemical) CONCLUSION BIBLIOGRAPHY PREI?ACE When I arrived at Rhodes University in 1995 to do advanced studies, I have noticed that many lecturers and students here were enthusiastic about modern painting and the techniques involved in its creation.
    [Show full text]
  • History of Modern Art Painting Sculpture Architecture Photography
    HISTORY OF MODERN ART PAINTING SCULPTURE ARCHITECTURE PHOTOGRAPHY SEVENTH EDITION LK024_P0001EDarmason_HoMA_FM_Combined.indd i 14/09/2012 15:49 LK024_P0001EDarmason_HoMA_FM_Combined.indd ii 14/09/2012 15:49 HISTORY OF MODERN ART PAINTING SCULPTURE ARCHITECTURE PHOTOGRAPHY SEVENTH EDITION H.H. ARNASON ELIZABETH C. MANSFIELD National Humanities Center Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montréal Toronto Delhi Mexico City São Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo LK024_P0001EDarmason_HoMA_FM_Combined.indd iii 14/09/2012 15:49 Editorial Director: Craig Campanella This book was designed and produced by Editor-in-Chief: Sarah Touborg Laurence King Publishing Ltd, London Senior Sponsoring Editor: Helen Ronan www.laurenceking.com Editorial Assistant: Victoria Engros Production Manager: Simon Walsh Vice President, Director of Marketing: Brandy Dawson Page Design: Robin Farrow Executive Marketing Manager: Kate Mitchell Photo Researcher: Emma Brown Editorial Project Manager: David Nitti Copy Editor: Lis Ingles Production Liaison: Barbara Cappuccio Managing Editor: Melissa Feimer Senior Operations Supervisor: Mary Fischer Operations Specialist: Diane Peirano Senior Digital Media Editor: David Alick Media Project Manager: Rich Barnes Cover photo: Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912 (detail). Oil on canvas, 58 ϫ 35” (147.3 ϫ 88.9 cm). Philadelphia Museum of Art. page 2: Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte, 1884–86 (detail). 1 1 Oil on canvas, 6’ 9 ∕2” ϫ 10’ 1 ∕4” (2.1 ϫ 3.1 m). The Art Institute of Chicago. Credits and acknowledgments borrowed from other sources and reproduced, with permission, in this textbook appear on the appropriate page within text or in the picture credits on pages 809–16.
    [Show full text]
  • Embodying Art and Art History: an Experiment with a Class Video Happening for the Series Access Denied
    International Journal of Education & the Arts Editors Christine Marmé Thompson S. Alex Ruthmann Pennsylvania State University New York University Eeva Anttila William J. Doan Theatre Academy Helsinki Pennsylvania State University http://www.ijea.org/ ISSN: 1529-8094 Volume 14 Number 9 June 20, 2013 Embodying Art and Art History: An Experiment with a Class Video Happening for the Series Access Denied Leda Cempellin South Dakota State University, U.S.A. Citation: Cempellin, L. (2013). Embodying art and art history: An experiment with a class video happening for the series Access Denied. International Journal of Education & the Arts, 14(9). Retrieved [date] from http://www.ijea.org/v14n9/. Abstract A book written in a foreign language and migrated to the US along with its author, an art historian, finds a new communicative dimension by becoming a ready-made for art making purposes. Starting with an introduction explaining the genesis of the collaborative project Access Denied, this article focuses on one of the series’ artworks, namely a video-happening, by exploring its genesis, development, and outcomes. Staged during the day of finals in an advanced art history seminar, the experiment provided an embodied artistic experience and some reflections on art history course content in the debate that followed. The video happening became a basis for further reflection in this essay on the role of performance in stimulating arts-based research at the interstices between biography and scholarly inquiry, between art and art history, between modernism and postmodernism, between object and action, and between creation and destruction as the two opposite poles in modern creativity.
    [Show full text]
  • Hold Still: Looking at Photorealism RICHARD KALINA
    Hold Still: Looking at Photorealism RICHARD KALINA 11 From Lens to Eye to Hand: Photorealism 1969 to Today presents nearly fifty years of paintings and watercolors by key Photorealist taken care of by projecting and tracing a photograph on the canvas, and the actual painting consists of varying degrees (depending artists, and provides an opportunity to reexamine the movement’s methodology and underlying structure. Although Photorealism on the artist) of standard under- and overpainting, using the photograph as a color reference. The abundance of detail and incident, can certainly be seen in connection to the history, style, and semiotics of modern representational painting (and to a lesser extent while reinforcing the impression of demanding skill, actually makes things easier for the artist. Lots of small things yield interesting late-twentieth-century art photography), it is worth noting that those ties are scarcely referred to in the work itself. Photorealism is textures—details reinforce neighboring details and cancel out technical problems. It is the larger, less inflected areas (like skies) that contained, compressed, and seamless, intent on the creation of an ostensibly logical, self-evident reality, a visual text that relates are more trouble, and where the most skilled practitioners shine. almost entirely to its own premises: the stressed interplay between the depiction of a slice of unremarkable three-dimensional reality While the majority of Photorealist paintings look extremely dense and seem similarly constructed from the ground up, that similarity is and the meticulous hand-painted reproduction of a two-dimensional photograph. Each Photorealist painting is a single, unambiguous, most evident either at a normal viewing distance, where the image snaps together, or in the reducing glass of photographic reproduction.
    [Show full text]
  • Styleless Style? What Photorealism Can Tell Us About “The Sixties”
    Boise State University ScholarWorks Art Faculty Publications and Presentations Department of Art 8-1-2013 Styleless Style? What Photorealism Can Tell Us About “The iS xties” Craig J. Peariso Boise State University This document was originally published by Cambridge University Press in Journal of American Studies. Copyright restrictions may apply. DOI: 10.1017/S0021875812002071. Journal of American Studies, (), , – © Cambridge University Press doi:./S First published online February Styleless Style? What Photorealism Can Tell Us about “the Sixties” CRAIG J. PEARISO This essay reads s “photorealist” painting and its critical reception against two sets of contemporary social analyses. First, it places these artistic and critical works next to Pierre Bourdieu’s text Photography: A Middle-Brow Art, demonstrating that, although the critical literature surrounding “photorealism” tended to assume that its involvement with photography grew out of a desire for an objective realism, contemporary thought on photography was anything but convinced of the medium’s transparency. Second, it looks to cultural critics like Susan Sontag and Jacob Brackman to propose that, rather than seeing the art of this period in opposition to the heated political battles of “the sixties,” the presumably “styleless” works of artists like Robert Bechtle and Ralph Goings may lead us to reconsider the forms of those battles themselves. In his essay “Photographic Guilt: The Painter and the Camera,” Jonathan Weinberg suggests that the difference between Robert Bechtle’s paintings and the documentary photographs of Robert Frank lies primarily in Bechtle’s evasiveness. “Bechtle’s covered cars are far more difficult to read,” Weinberg writes. They do not take a clear moral position.
    [Show full text]
  • 1 Life Between Two Panels Soviet Nonconformism in the Cold War Era
    Life Between Two Panels Soviet Nonconformism in the Cold War Era DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Clinton J. Buhler, M.A. Graduate Program in History of Art * * * * * The Ohio State University 2013 Dissertation Committee: Dr. Myroslava M. Mudrak, Advisor Dr. Kris Paulsen Dr. Jessie Labov Dr. Aron Vinegar 1 Copyright by Clinton J. Buhler 2013 2 Abstract Beneath the façade of total conformity in the Soviet Union, a dynamic underground community of artists and intellectuals worked in forced isolation. Rejecting the mandates of state-sanctioned Socialist Realist art, these dissident artists pursued diverse creative directions in their private practice. When they attempted to display their work publicly in 1974, the carefully crafted façade of Soviet society cracked, and the West became aware of a politically subversive undercurrent in Soviet cultural life. Responding to the international condemnation of the censorship, Soviet officials allowed and encouraged the emigration of the nonconformist artists to the West. This dissertation analyzes the foundation and growth of the nonconformist artistic movement in the Soviet Union, focusing on a key group of artists who reached artistic maturity in the Brezhnev era and began forging connections in the West. The first two chapters of the dissertation center on works that were, by and large, produced before emigration to the West. In particular, I explore the growing awareness of artists like Oleg Vassiliev of their native artistic heritage, especially the work of Russian avant-garde artists like Kazimir Malevich. I look at how Vassiliev, in a search for an alternative form of expression to the mandated form of art, took up the legacy of nineteenth-century Realism, avant-garde abstraction, and Socialist Realism.
    [Show full text]
  • Resource Guide
    JANUARY 24 - APRIL 21, 2013 RESOURCE GUIDE The exhibition is produced by International Arts.® Hubert DeLartigue (French, b.1963). OMG!, 2009. OKLAHOMA CITY MUSEUM OF ART Acrylic on canvas, 38 in. diameter (96.5 cm). Courtesy of Bernarducci.Meisel.Gallery © Courtesy International Arts® 415 Couch Drive | Oklahoma City, OK 73102 | (405) 236-3100 | okcmoa.com JANUARY 24 - APRIL 21, 2013 Photorealism—the first modern movement to assert reliance on photography as a crucial part of the artistic process—has been an influential force on the art scene since the late 1960s. Though the original Photorealists were initially denounced for using photography, their work eventually gained recognition, becoming part of a resurgent interest in both painting and realism that flourished in the 1970s and has continued into the post-millennium years. Photorealism Revisited explores the historical roots of this quintessentially American style and its evolution on the international stage. Robert Bechtle (American, b.1932) EXHIBITION DETAILS '68 Cadillac, 1970 Oil on canvas, 22 x 24 in. • Organized by International Arts ® Private Collection, Louis K. Meisel Gallery, • 63 works, including paintings and prints New York. © Courtesy International Arts® • 35 artists Considered one of the first Photorealist • Works created between 1970 and 2012 painters, Robert Bechtle combined familiar American icons with his own personal style, resulting in the BEFORE VIEWING poetic sensibility seen in ’68 Cadillac. Bechtle’s use of a subdued color • Review realism in the visual arts palette was inspired by the soft light of California’s Bay Area and highlights • How does photorealism compare and contrast to previous an American car parked outside of a tendencies towards realism in the visual arts? California stucco building.
    [Show full text]
  • Oral History Interview with Louis K. Meisel, 2009 Apr. 28-May 6
    Oral history interview with Louis K. Meisel, 2009 Apr. 28-May 6 Funding for this interview was provided by the Widgeon Point Charitable Foundation. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Louis K. Meisel on April 28 and May 6, 2009. The interview took place in New York City, and was conducted by James McElhinney for the Archives of American Art, Smithsonian Institution. This interview is part of the Archives of American Art. Louis K. Meisel reviewed the transcript in 2019 and has made corrections and emendations. Selected corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview [TRACK AAA_meisel09_5506_r is a test track.] JAMES MCELHINNEY: This is James McElhinney speaking with Louis Meisel at 141 Prince Street in New York City, on Tuesday, the 28th of April 2009. Good morning. LOUIS K. MEISEL: Good morning. JAMES MCELHINNEY: What was your earliest encounter with a work of art? LOUIS K. MEISEL: On September 4, 1956, which was my 14th birthday, my parents allowed me to go into New York City from Tenafly, New Jersey, which is right across the bridge, with a friend of mine, Larry Schreiber.
    [Show full text]